The contents of the Shih.
2. The Shih King contains 305 Pieces and the titles of six others. The most recent of them are assigned to the reign of king Ting of the Kâu dynasty, B.C. 606 to 586, and the oldest, forming a group of only five, to the period of the Shang dynasty which preceded that of Kâu, B.C. 1766 to 1123. Of those five, the latest piece should be referred to the twelfth century B.C., and the most ancient may have been composed five centuries earlier. All the other pieces in the Shih have to be distributed over the time between Ting and king Wan, the founder of the line of Kâu. The distribution, however, is not equal nor continuous. There were some reigns of which we do not have a single Poetical fragment.
The whole collection is divided into four parts, called the Kwo Fang, the Hsiâo Yâ, the Tâ Yâ, and the Sung.
The Kwo Fang, in fifteen Books, contains 160 pieces, nearly all of them short, and descriptive of manners and events in several of the feudal states of Kâu. The title has been translated by The Manners of the Different States, 'Les Mœurs des Royaumes,' and, which I prefer, by Lessons from the States.
The Hsiâo Yâ, or Lesser Yâ, in eight Books, contains seventy-four pieces and the titles of six others, sung at gatherings of the feudal princes, and their appearances at the royal court. They were produced in the royal territory, and are descriptive of the manners and ways of the government in successive reigns. It is difficult to find an English word that shall fitly represent the Chinese Yâ as here used. In his Latin translation of the Shih, p. Lacharme translated Hsiâo Yâ by 'Quod rectum est, sed inferiore ordine,' adding in a note:--'Siâo Yâ, latine Parvum Rectum, quia in hac Parte mores describuntur, recti illi quidem, qui tamen nonnihil a recto deflectunt.' But the manners described are not less correct or incorrect, as the case may be, than those of the states in the former Part or of the kingdom in the next. I prefer to call this Part 'Minor Odes of the Kingdom,' without attempting to translate the term Yâ.
The Tâ Yâ or Greater Yâ, in three Books, contains thirty-one pieces, sung on great occasions at the royal court and in the presence of the king. p. Lacharme called it 'Magnum Rectum (Quod rectum est superiore ordine).' But there is the same objection here to the use of the word 'correct' as in the case of the pieces of the previous Part. I use the name 'Major Odes of the Kingdom.' The greater length and dignity of most of the pieces justify the distinction of the two Parts into Minor and Major.
The Sung, also in three Books, contains forty pieces, thirty-one of which belong to the sacrificial services at the royal court of Kâu; four, to those of the marquises of Lû; and five to the corresponding sacrifices of the kings of Shang. p. Lacharme denominated them correctly 'Parentales Cantus.' In the Preface to the Shih, to which I have made reference above, it is said, 'The Sung are pieces in admiration of the embodied manifestation of complete virtue, announcing to the spiritual Intelligences their achievement thereof.' Kû Hsî's account of the Sung was--'Songs for the Music of the Ancestral Temple;' and that of Kiang Yung of the present dynasty--'Songs for the Music at Sacrifices.' I have united these two definitions, and call the Part--'Odes of the Temple and the Altar.' There 'is a difference between the pieces of Lû and the other two collections in this Part, to which I will call attention in giving the translation of them.
Only the pieces of the fourth Part have professedly a religious character.
From the above account of the contents of the Shih, it will be seen that only the pieces in the last of its four Parts are professedly of a religious character. Many of those, however, in the other Parts, especially the second and third, describe religious services, and give expression to religious ideas in the minds of their authors.
Classification of the pieces from their form and style.